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junho 2018

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Experiencing  the art of Jean-Michel Basquiat with Gurulino

By | American Spaces, Cultural, Escolas Públicas, Narrativas Incríveis, Programas Sociais | No Comments

In June, the Casa Thomas Jefferson Makerspace went on a mission: to provide the local community of artists, teachers, and students an immersive, hands-on experience on the work of the astonishing American artist Jean Michel Basquiat (1960-1988). The team was looking for engaging ways that a makerspace could convey the relevance of the artist’s work and the historical/cultural context in which he emerged in way that would make people eager to learn and express themselves.

The best way to start was to find the right partner: Pedro “Gurulino” Sangeon, a prominent local artist, who not only took the lead in the delivery but also helped in the planning of the creative activities. The result was a mix of sensory experiences specially designed to immerse participants in the impressive work of Basquiat, and depart from the preconceived stereotyped notion of beauty. In the end, enthralled participants created their own pieces of art using a variety of techniques inspired by the “King of Remix” style.

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Pedro Sangeon | www.gurulino.com

The Program

The workshops took place in the context of Basquiat’s Exhibit about the artist being held in Centro Cultural Banco do Brasil (CCBB) from April 21st, 2018 to July 1st, 2018. In close collaboration with the American Embassy, Casa Thomas Jefferson offered two sessions of this one-day program. The first one targeted local artists, art students and professors, and the community. The second round was specially tailored for public school teachers and students at CIL.

Storytelling – Getting to know Gurulino

Gurulino art is displayed all over Brasilia and bears a resemblance to Basquiat’s work for his use of poetry, graffiti, and varied techniques. Guru, as his numbered followers call him, started the workshop telling participants a little about his own experience as an artist. Just like Basquiat, Gurulino is not a so called grafiteiro, he is an artist who attended art school, but uses spray paint to convey his thoughts, provoke, and question the reality we face in big cities daily. In his opening talk, Guru spoke about how Basquiat’s work is misleadingly perceived as that of an “unstudied” artist and how Basquiat very skillfully and purposefully brought together a range of disparate traditions, practices, and styles to create a unique kind of visual collage.

Laser cut in an art workshop

The workshops were designed to help students stay focused as the instruction progressed. The first task was to put together a laser cut puzzle. After sharing what the painting “Boneless” made them feel, participants turned it over to discover that the puzzle was also a board map of the workshop journey. Participants were engaged in constructing knowledge together as they collaboratively accomplished tasks to unlock the ‘rooms’.

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The first room – Virtual Reality in the mix

Participants took a virtual trip to Brooklyn in the eighties and explored media rich content (video, text, pictures) to start their learning journey. They were motivated to summarize what they were learning in their own words. Then, we used Kahoot, a simple “drill and practice” piece of software, to wrap up this immersive trip into Basquiat’s universe. To keep participants engaged and active, before providing the answers, participants were supposed to discuss in groups and spot the information within the materials in the virtual trip.

The first room – Virtual Reality in the mix

Participants took a virtual trip to Brooklyn in the eighties and explored media rich content (video, text, pictures) to start their learning journey. They were motivated to summarize what they were learning in their own words. Then, we used Kahoot, a simple “drill and practice” piece of software, to wrap up this immersive trip into Basquiat’s universe. To keep participants engaged and active, before providing the answers, participants were supposed to discuss in groups and spot the information within the materials in the virtual trip.

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https://livetour.istaging.com/a897c20a-b428-4a8a-a729-ddcbe56057d2

https://livetour.istaging.com/38a8e2b4-edb2-4387-a58d-9835c570ed82

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When the first room was unlocked, Guru started a series of exercises aimed at warming up participants and shifting from an I-CANNOT-DRAW state of mind to an I-CAN-DO-IT attitude.

The second room – Human Anatomy and Basquiat

At this point in the workshop, more familiar with Basquiat’s trajectory, participants received part of a skeleton to put together and customize. Each group received different types of art supplies that Basquiat used in his work to experiment with.

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Unlocking the second room was once more a collaborative experience. Participants put all parts of the human skeleton together and revisited Basquiat’s work in which he used human anatomy to convey his ideas.

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The third room – Questioning beauty

In the third room, participants got famous portraits and had to reassemble them in unique ways. The idea here was to question our preconceived idea of beauty. Guru also talked about the tendency of looking at art and stating likes and dislikes. According to him, this is not the approach one should take. Instead, we should build  empathy and understand the artist’s pain and ideas behind the painting.
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The fourth room – The king of Remix

In the fourth room, participants had the opportunity to apply the techniques they learned, the knowledge they co-constructed and the materials available to express themselves. Surrounded by Basquiat’s paintings, the skeleton, their own drawings, and words they wrote down whenever they heard a bell, participants were ready to create their own Basquiat-inspired work of art. Moved by the artist’s roots and struggles, Guru invited participants to express their own ideas, fears, and desires.

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Specially designed to engage, the workshop got extremely positive feedback and made it clear to everyone involved that makerspaces are a wonderful platform to co-design unique learning experiences.

WSP Basquiat w/ Gurulino

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10 Tips to get started in the Maker Movement

By | Food for thought, Formação de Professor, Maker Movement, Makerspaces | No Comments

Makerspaces are ideal places to grasp what happens when learners work directly with manipulative media- clay, scratch, circuitry, legos, movie editing apps, etc. to interact, create and share.

 

About the Maker Movement

The maker movement is hardly something new.  It’s been around in the U.S.  for over a decade now with big resemblances to shop classes, traditional art education, and progressive education. With an important focus on soft skills, such as collaboration, problem-solving, sharing, learning together, experimentation, and iterative processes, the making at the heart of this resurgence in educational settings is unique in many ways.

First, we need to distinguish making from Maker-Centered Learning.  In the book Maker-Centered Learning – Empowering Young People to Shape their Worlds, the writers state that Maker-Centered Learning (MCL) goes beyond acquiring maker abilities (coding, digital illustrating, video making, drilling, fast prototyping, etc.) or discipline-specific knowledge and skills. It’s about building character, gaining creative confidence, knowing how to collaborate with others and being resourceful when confronted with challenges. The resurgence of making in educational settings is about opening a space in school where kids gather to create, invent, tinker, explore & discover. It’s also about having students learn from one another and create visible representations of their learning – be it a stop motion video, an animation or a game with scratch, a 3D print project, a circuit, a rocket, or a sand castle.  MCL provides people with tools and ideas to rethink educational settings. But how to start? How to harness the power of making in my classes? What tools to get? What do teaching and learning look like in these so-called MCL environments?

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Tips to get started in the maker movement

1. Any space can become a makerspace

Do not wait, you have lots to learn and you’d better get started. The easiest way to start making connections to the classroom is to get as many people involved as soon as possible. At Casa Thomas Jefferson, the initial approach was to bring the movement to libraries. Before the dedicated space for making –  CTJ Makerspace was inaugurated, teachers, librarians, students, and the community started experiencing with tinkering and  the idea that a school library is a place for collaboration, active learning, engagement, discovery, and surprise.

  When you start a makerspace in a library you send your community the message that the way people learn has changed, and that the school is learning together. Just find some room for a table and encourage tinkering, play, design and engineering challenges and open-ended exploration. Start with low cost and low tech challenges in a space where people feel welcome, challenged, and eager to learn how to make something of value to themselves or their community.

2. Realize early that it’s about building communities and having a maker mindset

Network, visit other makerspaces, read, share, challenge yourself to learn new abilities and be resilient. Participate in maker workshops and observe closely how the sessions are delivered and learn what teaching and learning feel like in action. Bring makers, enthusiasts, hobbyists, engineers, partners, teachers into a creative space with easy access to manipulative media. Look for partners and together find ways to offer the community a space to connect with ideas, tools, and people to fix, create, hack, and make new things. Most importantly, do it together with people who believe that the educational system needs a radical change and that we can help improve it.

3.  Remember it is about the learning experiences, not just the technology, the tools or the physical space

A makerspace can be anything from a table full of craft supplies to a space with 3D printers, laser cutters, and power tools. However, in time you will become more adventurous and willing to experiment with the possibilities of fast prototyping within educational settings. Put yourself in a position in which you will need to learn from tools, the internet, students,  experts, and community members. Again, visit educational makerspaces to learn about how educational narratives are designed, what people are making, sharing and learning. Worry about which tools and machines to get once you have become more familiar with the concept.

4.  Understand maker-centered educational roots and connections

John Dewey‘s work emphasizes learning by doing.  The philosopher understood knowledge-making as a dynamic process that unfolds as learners are engaged through reflective, iterative interaction with the practical demands and challenges of doing things in the real world. Two educational theories that connect directly to MCL are constructivism and constructionism. Jean Piaget argued that knowledge is constructed via the interaction between the learner’s conceptual schema and their experiences in the world to which these schemata are applied.  At the core of MCL activities there is a strong focus on tinkering and figuring out solutions to challenges, and both processes start with one’s own ideas and the inclination and sensitivity to opportunities to shape these ideas through direct, experiential action.

Seymour Papert, considered by many the father of the resurgence of making in educational settings, holds in his view (Constructionism) that learning happens at it’s best when learners work directly with manipulative media. Lego bricks, clay, coding apps, fast prototyping machines, or even recyclables.  Papert made clear the relationship between constructivism and constructionism, the important emphasis on making tangible projects, and the inclination to sharing what one makes with a wide audience throughout his work.

In a maker-centered classroom, facilitators encourage students to work together to solve challenges and derive inspiration from one another’s work.  Peer learning and the work of Lev Vygotsky, relates heavily to MCL, for he promoted the idea that all learning is social. His concept of proximal development is highly applicable to the variety of peer learning that happens in a maker-centered class. Although peer learning is not a new concept, it is important to note that for MCL, peer learning is crucial either because learners genuinely know a lot, or because the efficient distribution of skill-instruction requires it, especially in case you have a large group who needs to learn a maker ability in order to perform the task and the fastest way to disseminate knowledge is by having students teach one another.

MCL has strong connections with Project-Based Learning (PBL). Both MCL and PBL are interest driven, may use expert knowledge and skills, are frequently collaborative, use learning technologies from paper-and-pencil mind maps to a variety of digital and analog tools, and students are expected to create tangible products that make the learning processes visible.

But the differences are worth noting

  1. MCL might not be as well structured as PBL is. That is, for MCL, the learning experience might start with simply tinkering, opening a toy, or observing a system or product so that the inquiry questions emerge from student’s interactions with materials. MCL brings opportunities to build a maker mindset and build a tinkering attitude towards learning – a playful, failure positive way to approach challenges through direct experience, hands-on engagement, and discovery.
  2. MCL is not a well structured instructional approach as PBL is. PBL has a set of criteria which are often used to frame an entire curriculum. It might be the case with MCL, but for the most part, it weaves in and out of varied learning contexts.

5.  Create a  shared view of what MCL should look like in your school and build a bridge to your curriculum

Perhaps the best way to start implementing ideas into the classrooms informed both by progressive learning theories like John Dewey, Jean Piaget, Seymour Papert, and Lev Vygotsky and educational approaches like peer learning and PBL is to start thinking about the new words and jargon that we are using when we talk about MCL. Project Zero suggests a  symptoms-based approach to point out characteristics that suggest what qualifies as a maker-centered experience but do not strictly define what the essence is or is not. In other words, a MCL experience need not include the full set of characteristics associated with such experience to qualify as one; rather, exhibiting a majority of these characteristics in any configuration suffices. Makerspaces are ideal for asking questions, prototyping ideas and learning by doing. We take inspiration from the book Maker-Centered Learning to attempt at drafting our own definition of  MCL to guide us into designing MCL activities for our institution so that we have a single tool to validate practices, build confidence and competence, and strengthen our internal expertise.

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6. Experience inspirational learning communities

7. Explore Apps and Tools for creators

8. Research, implement, reflect, tinker, and improve your practice

9. Belong, make sense, be brave, proactive, and build in yourself creative competence and confidence to make things happen

Read about CTJ Makerspace maker workshops specially designed to connect people,  foster the maker capacities of looking closely at products and systems, exploring complexities and finding opportunities to improve things around us.

10. Be generous and share your learning path.